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Box Set Liner Notes, 2/96

the Misfits

   The Misfits were a "punk rock" band from Lodi, New Jersey. Formed in 1977 
toward the end of the "punk" era, they took the band name from Marilyn 
Monroe's last film and in fact, thanked the cast of the movie on the back 
of their first record.
   The founding members were: Glenn Danzig on vocals and electric piano, 
Jerry Caiafa on bass, and Manny on drums. Their first release on their own 
label, Blank Records, didn't reflect the characteristic anger and rebellion 
of most "punk" records, but instead a more brooding and romantic side 
lingering beneath.
   Side A was called "Cough/Cool" and it had a jazzy sort of feeling to it. 
With the release of this record only the interesting lyrical content and 
strong vocals hinted at the style that would emerge with the passage of time 
and the band's subsequent releases. Side B had the original recording of
"She", and was about Patty Hearst. It was the more aggressive track but 
there was no noisy guitar. Instead, Glenn played the electric piano through 
a fuzz box.
   In 1978, the "punk rock" influence reared its ugly head with the addition 
of Frank LiCata (a.k.a.  Franche Coma) on guitar and Jim Catania (a.k.a. Mr. 
Jim) on drums. The next release was the notorious "Bullet" EP, on their Plan 
9 label. The four song seven inch reflected a more aggressive and angry 
style. It was originally pressed on black vinyl with a fold out sleeve and 
lyric sheet for the title track. "Attitude" was a poppy little tune with 
colorful usage of many four letter words.  "Hollywood Babylon" had a rich 
vocal track and a very catchy melody. "We Are 138" was filled with the 
straight down-strumming guitar technique that was very reminiscent of the 
Ramones. It was a style the band would proudly perfect, and one that stayed 
with them throughout all of their recordings.
   The "Bullet" sheet showed former-president Kennedy's head on a blood 
splattered background with a bullet hole in it. Not tame by any means, and 
not meant to be either. These four songs came from a larger session, that 
was to be their first album, Static Age. The rest of those songs are 
compiled, all together for the first time anywhere, in this box set.
   At this time it was fairly common to see Jerry (now calling himself Jerry 
Only) around town with his electric blue hair and leather jacket that 
proudly proclaimed "The Misfits" on the back.  Everyone in Lodi had heard of 
the Misfits (if they cared to listen) and how they wrote their own songs, 
put out their own records and booked their own gigs. This D.I.Y. method was 
a staple of "punk rock". Why let some big record company tell you how to 
look, how to sound, or what to do for that matter? They would make it happen 
on their own terms, all the way down to cutting and gluing the seven inch 
sleeves together themselves.
   In the summer of 1979 a new EP was coming out and there had been some 
major changes: enter Bobby Steele on guitar and Joey Image on the drums. 
Another addition, although not to the actual line-up itself, a logo appeared, 
the Crimson Ghost was adopted as the symbol of the band in the Spring of that 
year on the poster for the bands show at Max's Kansas City. This would be the
image that would forever be linked to the band and would grace the cover of 
this new EP, "Horror Business".
   When you bought a misfits record back then, you would find an application 
for the "Fiend Club". If you filled it out and sent it in they would send you 
whatever they had (buttons, stickers, or photos) for free. This would 
continue throughout the band's career. "Horror Business" was another seven 
inch with three new songs recorded live in the studio and pressed on yellow 
vinyl.  Besides the title track there was "Teenagers From Mars" and "Children 
In Heat". This EP was powerful, raw, and obnoxious.
   A different look was going on with the ever-evolving sound. All that 
horror business was starting to branch out. The trade mark "devilock" hair 
style was becoming more prominent. Jerry's eye makeup, Glenn's bone shirt 
and gloves, and of course the black clothes. Everyone looks better in black 
clothes! They were turning into what we used to call a "ghoul rock" band. 
Some said "monster rock", "horror rock", and others even said "death rock". 
It was their own niche, one that would last, one that would always separate 
the Misfits from all others.
   In November of 1979 a new EP called "Night Of The Living Dead" came out 
as a three song seven inch with the b-sides being "Where Eagles Dare" and Rat 
Fink". With the release of this record, the band went to England to support 
the Damned with a possible opening tour with the Clash being talked about 
too. But Glenn got into a bar fight and was thrown into jail and upon leaving 
the Damned tour, Joey Image quit the band and flew back to the states. Without 
a drummer eveyone flew home and there would be no Clash tour.
   The "Night Of The Living Dead" record was sort of a disappointment in that 
something went wrong during the mastering and all of the levels were way too 
low. Only 2000 copies were pressed and the plates were destroyed. Despite the 
bad mastering, Glenn had told me on a few occasions that this was his 
favorite time in the band. Fortunately now you can hear this EP the way it 
was meant to be heard back in 1979.
   All along, Jerry's younger brother, P.C. Doyle had been hanging around 
rehearsals, going to shows, learning how to play guitar, and being groomed 
by Jerry to be a Misfit. Practice was always held at their parents' house on 
Grove Street in Lodi where P.C. Doyle would be waiting in the wings.
   Halloween was approaching and the time was right. Jerry had decided that 
Doyle (the P.C. was dropped) was in and Bobby was out. It was an obvious 
choice for Bobby's replacement. Doyle and I were 15 when he did his first 
show. I was at Irving Plaza, sometimes called Club 57 or the Monster Movie 
Club. This was Halloween. It had become tradition for the Misfits to play 
here in New York City. What a way to start Doyle's career. They showed horror 
movie trailers before and in-between bands. There were lamb's heads hanging 
from the chandeliers and cobwebs everywhere.
   On the bill that night was the legendary blues shouter Screamin' Jay 
Hawkins and a transvestite band aptly named Marilyn. It was the first gig 
I ever went to and it was kool as hell! The Misfits had three coffins standing 
behind the blood red velvet curtain. They also had Arthur Googy, who had been 
in the band for a while now, behind the drum kit. This line-up was my favorite.
   As the show started, they kicked down the lids and went into "Halloween". 
The rest was a blur.  If you never saw them, a Misfits show was a wall of 
guitars and howling, screaming vocals.  Totally intense and insane. There were 
piles of bodies all over the stage, people jumping off the P.A. stacks, and 
tons of stage diving. Jerry would count off every song, flail his bass around, 
and run and jump all over the stage. Doyle would punish his guitar and scare 
the hell out of people.  Glenn would sometimes lose his mind and be found 
crawling around on the floor or crouching way down close to the crowd. He'd 
get kicked in the head. He would jump on people and maybe even throw a punch 
or two. It was insanity! I loved it.
   In England, Cherry Red released a twelve inch called "Beware". It contained 
the first two EP's along with "Last Caress" from the Static Age sessions. It 
had a kool black and white photo on the cover and was the band's first twelve 
   Doyle and Googy's first appearance on vinyl is my favorite. Three Hits From 
Hell was another three song seven inch. The a-side was "London Dungeon", the 
song Glenn wrote while in jail in England, and the b-sides were "Horror Hotel" 
and "Ghouls Night Out". These songs featured a great mix of the unrelenting 
bass and guitar assault that sounded too fast to be played by human beings, 
along with a full, rich vocal and a great drum sound. The cover showed only 
the eyes of the four members. On "London Dungeon", credit the kool sound on 
the main riff and the spooky feedback, that added so much to the song, to 
producer Rob Alter.
   I was hooked for real and wanted to be involved somehow. Right around this 
time Doyle asked me if I would photograph the band. I'd been shooting since 
1978, so I thought "hell yes" I would.  The shoot was at a cave in upstate 
New York or somewhere on a Sunday in August. I hadn't met Glenn until this 
point. He was a little guarded, but had a good sense of humor and all went 
well.  Jerry loved the camera. Googy kept wandering away or spacing out while 
Doyle just growled into my lens all day. The shoot lasted five or six hours 
and about a dozen or so of these shots would wind up on the forth-coming 
first album.
   After that I shot them at Chase Park on Houston Street in New York City 
and the East Side Club in Philly. Going to gigs meant carrying gear, beer, or 
coffins. I printed T-shirts and took pictures. Once Jerry asked me to grab 
him a fresh bass after he smashed one. Pretty kool!
   It was 1981 and a new single was coming out. It was another seven inch, 
this one entitled "Halloween". It contained version one with a Latin werewolf 
chant for version two. There was a lyric sheet for the autumn anthem, 
Halloween I". "Bon fires burnin' bright/ Pumpkin faces in the night/ I 
remember Halloween". Version two was a spooky song that sounded like pagans 
dancing around a festive fire. You could find the lyrics to that one on the 
back of the seven inch. The orange cover was crowded with skulls and a scary 
jack 'o lantern framing a kool black and white photo of the fearsome foursome.
   There was a national tour planed, an album deal with Ruby Records and a 
headlining gig at the Ritz that would be recorded. The Ritz in New York was 
at 3rd Avenue and 11th Street, and was considered a prestigious gig back then. 
The huge posters the band made up (and would paste up all over town) had four 
skeletal horsemen riding four horses, proudly proclaimed "The Misfits at the 
Ritz". The band showcased a lot of material that would end up on their first 
album. From this show came the legendary version of "Mommy, Can I Go Out And 
Kill Tonight".
   Walk Among Us came out in 1982, mine and Doyle's senior year in high 
school. Thirteen classic songs. All of the elements were there; the hooks, 
the catchy melodies, grade B horror movie titles, the BIG choruses, the 8th 
note down-strumming barrage, tons of photos (some of mine were used so I was 
thrilled!), and a lyric sheet that let you in on the twisted vision that hid 
within Glenn's mind.  
   Upon that release, the band did a national tour that took them out to 
sunny California. There they met horror film star Vampira, for whom they 
named a song. She was living in seclusion and hadn't made a public appearance 
in many years. She was so moved by the band's musical tribute that she met 
with them publicly and posed for pictures.
   Before a scheduled Whiskey A Go-Go gig, Glenn said the band and Henry 
Rollins (then with Black Flag) chased some Sunset Strip, cock-rock band 
named Motley Crue down the street. The shows at the Whiskey were recorded for 
what would be a special gift to the "Fiend Club" members.
   Touring across the country in a van is never easy, but it's a lot of fun. 
No heat during snow storms, breaking down, getting in accidents, Mad Max road 
wars, getting shot at in Detroit, getting gear lost, stolen or broken, and 
duct taping guitars back together. While on tour it was common for the band 
to bring along silk screens of their scary T-shirt designs. They had no
problem letting their fans lay down their leather jackets while the band 
printed the Crimson Ghost all over the place, leaving their mark wherever 
they went.
   Walk Among Us was a great success. The culmination of years of hard work 
and patience was captured as a true representation of the Misfits' sound. 
Today, all of the songs are classics; "20 Eyes", "Hate Breeders", "Astro 
Zombies", "Nike-A-Go-Go" and not to mention a new version of "Night Of The 
Living Dead".
   As a gift to the "Fiend Club", a seven inch of live tracks from this tour 
called Evilive was released. The first 1000 copies pressed would be available 
only to the Misfits' loyal throng. The cover featured a whole band live shot 
with Glenn's interpretation of the Crimson Ghost on the back. On "We Are 138" 
guest screams and growls came from Misfits buddy Henry Rollins. This record 
was a nice gesture to the fans, from a band they looked up to and thought 
were kool.
   For whatever reasons, yet again, the band would find themselves without a 
drummer. They called upon Robo, former Black Flag drummer, who was looking for 
a gig in California. He moved to New Jersey and stayed with Glenn.
   For their second album, the band chose Black Flag's engineer, Spot, to 
record them. Things were moving into a faster area. Hardcore bands were a big 
influence everywhere and some of the tracks that would end up on Earth A.D. 
were incredibly fast. "Demonomania", "Green Hell", and "Death Comes Ripping" 
took hardcore into another dimension. Fusing hardcore's speed with heavy 
metal's big sound. Poof! Earth A.D., the speed metal bible.
   Recorded at a very high decibel level, the album has a train-wreck feeling 
to it with tons of feedback holding it all together. Not all the songs were 
new. "We Bite" had been performed as far back as 1981. A studio version of 
"Mommy..." was also done. This time the words, hooks, and melodies took a 
back seat to the speed, power, and fury of a live performance captured on 
tape.  The mood of Earth A.D. reflected more real life violence and 
true-to-life horror. Things weren't so comic-book-like anymore.
   The cover was a three hundred hour labour of love drawn by good friend 
Mad Marc Rude of Los Angeles. It showed the four members amongst zombies, 
ghouls, and human wreckage in various forms of decay. The overall feel of 
this album might remind you of "Horror Business" but the intensity brought to 
life on this 1983 release was ten times greater.
   A German company, Aggressive Rock Productions, had already licensed 
Evilive as a twelve inch with extra tracks added for sale in Europe. The new 
album would be put out overseas as well, but as Wolf's Blood. For this 
version, "We Bite" and "Die, Die My Darling" were added as bonus tracks.
   The final Misfits record was a twelve inch on Caroline Records. It was 
called "Die, Die My Darling". It was pressed on black, purple, and white 
vinyl. The other tracks were "We Bite" and the studio "Mommy...".
   When Glenn had told me he was leaving the Misfits I was saddened but not 
surprised. He felt it was time for a change. He once said that the Misfits 
were he and Jerry, and if they weren't together it wouldn't be the same. 
They were moving further apart. Musical and personal differences played a 
big part. People grow older and change is inevitable. But as you listen to 
this 100 song collection you can hear a sound and a musical partnership that 
endures even today.
   This is the most complete set of recordings the Misfits have put out. And 
who would have believed it? If you were there during some period of their 
history, maybe it will bring you back to those days like it does for me. Even 
if you never saw them play or had a chance to buy some of the rarest "punk 
rock" records ever, you can still let the music move you.
   Let it become your music. It's the same as it was then, it's just in a 
coffin now. How appropriate!
   The Misfits were some guys from New Jersey who made great music during a 
crazy time unlike anyone before or since. To them, I say Fangs...for the 
memories. And to the fans, I hope you will treasure this collection like I 
will. When you want all hell to break loose, put on a Misfits record!

Eerie Von
New Jersey, 1995


1977. 7"- "Cough/Cool", "She" (Blank Records)
500 black vinyl

1978. 7"- "Bullet", "We Are 138", "Attitude", "Hollywood Babylon" (Plan 9)
1000 black vinyl w/gatefold and lyrics. 2000 red vinyl with different back cover and lyric sheet.
7000 black vinyl with same cover as red.

1979. 7" acetate- "Teenagers From Mars" (no label)
5 acetates made. Never went to press.

1979. 7"- "Horror Business", "Teenagers From Mars", "Children In Heat" (Plan 9)
5000 yellow vinyl (some w/insert). 25 black vinyl. ? amount w/double A-sides or a different back

1979. 7"- "Night Of The Living Dead", "Where Eagles Dare", "Rat Fink" (Plan 9)
2000 black vinyl

1980. 12"- Beware. "We Are 138", "Bullet", "Hollywood Babylon", "Attitude", "Horror
Business", "Teenagers From Mars", "Last Caress" (Cherry Red, UK)
Unknown quantity pressed.

1981. 7"- Three Hits From Hell: "London Dungeon", "Horror Hotel", "Ghoul's Night Out" (Plan
3000 gray label. 7000 orange label. 2nd press: 400 black vinyl. 400 white vinyl.

1981. 7"- "Halloween", "Halloween II" (Plan 9)
5000 black vinyl, some w/lyric sheets.

1982. 7"- Evilive.
1000 numbered copies on black vinyl w/orange label and insert. 1000 un-numbered copies with
different cover w/orange label. 33 sets of 3 versions of the 7" with a Jerry, Doyle, and Glenn

1982. LP- Walk Among Us. (Ruby/Slash)
Pink cover. Some Italian copies with "Misfit" on spine. Purple cover w/pink outline around

1983. LP- Evilive. (Aggressive Rock Productions)
12 inch version with different cover. 12,000-15,000 on black vinyl.

1983. LP- Earth A.D./ Wolf's Blood. (Plan 9)
200 purple vinyl. 200 yellow vinyl. 200 clear vinyl. 100 green vinyl.

1983. LP- Wolf's Blood (Aggressive Rock Productions)
15,000 black vinyl w/more tracks than U.S. LP.

1984. LP- Flipside Vinyl Fanzine Volume 2
"Attitude" (live version)

1984. 12"- "Die, Die My Darling" (Plan 9)
500 purple vinyl. 500 white vinyl.

1986. LP- Legacy Of Brutality. (Plan 9)
500 red vinyl. 500 white vinyl. 16 pink vinyl.

1987. LP- Evilive. (Plan 9)
2000 green vinyl.

1988. LP- Collection I. (Plan 9)
Pressing information unavailable.

1988. LP- Walk Among Us. (Ruby)
Purple cover w/green outline around letters.

1995. LP- Collection II. (Caroline)
6000 red vinyl. 3500 green vinyl. 500 clear vinyl.